Showing posts with label Sacred Earth. Show all posts
Showing posts with label Sacred Earth. Show all posts

Saturday, October 12, 2019

Pachamama


POEM TO PACHAMAMA

Santa Tierra, Pachamama, giver of beauties
gentle as raindrops or the claws of tigers,
red as the eyes of ancient tortoises,
redolent as coffees in the damp cool night,
round as ferns glowing green in dark forest,
thunderous as moth wings, rainbows, still pools…

You crack open our hearts
with feather-soft fingers,
flood us loose from our fears with such force
we can only be healed of our bitter tears.

we feed you, Pachamama,
our shell shards and offerings,
nestle down in your warm sands
to nurture our new becoming
the whispering lullabies of Mama Cocha.

we dream lavender and roses, 



sunlight fluttering on leaves,
lightning rippling on violet hills.
we wrap our roots deep in your fiery heart,
open owl eyes within your dark womb,
to radiant crystals, gushing fountains,
sweet-grass and sage, swift merlins, yellow lotus,
the crawling glory of beetles.

You are blood and bone of all, Nuestra Mama,
birther and healer, bringer of death,
we cherish you, Nuestra Amada,
as saguaro cherishes water,
as aspen cherishes sunlight,
as the dying cherish mercy;

and we bless you, Sagrada Mama,
in our hearts, our words, our deeds;
we aid your precious children,
and we grow your sacred seeds.


~Leslie Morris Britt ©2009

http://wildreiki.wordpress.com/2009/08/23/shamanic-gifts-of-power-poem-to-mother-earth/
 Judy Chicago "The Birth Project"

We have a beautiful mother
Her hills
are buffaloes
Her buffaloes
hills.

We have a beautiful
mother
Her oceans
are wombs
Her wombs
oceans.

We have a beautiful
mother
Her teeth
the white stones
at the edge
of the water
the summer
grasses
her plentiful
hair.

We have a beautiful
mother
Her green lap
immense
Her brown embrace
eternal
Her blue body
everything we know.

Alice Walker

Monday, July 22, 2019

Asherah: "If Women Rose Rooted"

"Gaia Shrine" (2003)

"Asharah" (2015)
“It’s no accident that the systematic suppression of the feminine has been accompanied down the centuries not only by the devaluation of all that is wild and instinctual in our own natures, but by the purposeful destruction of natural ecosystems. We long ago turned our backs on the planet which gives us life.” 
― Sharon Blackie, If Women Rose Rooted

I seem to be obsessed these days with ASHARAH, the ancient  "Tree of Life" motif.  Everything I've been doing for years seems to be "rooted" anyway, as I review work that goes back 10,20, even 40 years.  It is kind of amazing, actually........you look back at your journal, or in my case, my body of artwork, and you see that there is a "life theme" that has followed and defined you.  Where did it come from?  I don't actually know.  My drawings and paintings and sculptures (and yes, even my poetry) is always ENTWINED, ROOTED, WEBBED, LEAFED, BRANCHED.  Roots entangled among bodies, hands that sprout forests, trees with eyes that peep between leaves, going back to drawings I did when I was 18 or 19.  


"Kathy" (1974)


I want to explore this "discovery of myself".  Because now that I've concluded my 20 year "Masks of the Goddess Project", I am seeking a new direction, and what I am finding my dreams full of is actually a very old direction.  Source. Archetype. Hope. Entwined.

 So forgive me if I get a bit personal here................

"Gaia" (1986)

Above is the most ambitious painting I ever did, and I might add, I put the most passion into it.  It was an oil painting nine feet by 5 feet.  I only showed it once.  It was finally destroyed, as big paintings end up usually end up  being, because they get stored and carted around, unless you happen to be one of the few artists who is either famous, or independantly wealthy, which I am not.  I still love it........it represented the Great Mother and the Great Tree, both angry, wounded, made barren by patriarchy and contemporary industrial civilization.  It almost got included in a book called "The Once and Future Goddess" by Elinor Gadon, almost except the author had gone to the publisher before she saw my painting.  

"Past Desire, Hope or Faith, I Rest in You, a Dream" (1993)


"Earth Hands" (2003)
Above is a painting I did in 1993, during the going-into-the-dark time of the Fall, when I was living in upstate New York.  So many images  with roots and branches entangled, entwined, sometimes with hands, sometimes with EYES.  At the top of this Post  is a new variation on the "Asherah" Tree Mother sculptures I've done in the past 10 years.  Below is the first clay sculpture I did in 2007 when I had a Fellowship at the Alden B. Dow Creativity Center to explore my "Spider Woman's Hands" Community Arts Project.  











Over and over and over this them of being rooted, connected, part of nature, the Tree.  So I think that is what my work now will be devoted to.  To all that is rooted, woven, to Gaia, to Asharah, to what we urgently need to reclaim and remember. 

WOVEN.  ROOTED.  A WEBBED VISION.  






"A man lies spread eagled on the cliff between sky and sea and land,  sand sunk, leaf-molten, blackberry crowned:  Toes, fingers, flesh reaching into the green redeeming Earth.  He is rooting himself.  He is taking himself back.  I lie down in grateful imitation, sharing this rite of re-membering."

........"On the Beach" (2001) Lauren Raine

 A garden thrives through a network of inter-dependant relationships.  Trees communicate  with each other through a vast underground weaving of roots and fungi.  The bees and other pollinators bring new life; the worms, microorganisms and  and other insects  assist in the decay process.  And the birds  assist in distributing seed as well.  We are no less part of that great Weaving.


The Black Madonna (2003)
Asharah  is a very ancient Goddess from the Middle East, with origins that are found in  Canaanite religions, certainly among the Semite tribes in the early days of the Old Testament before the imposition of a male monotheistic god (Yaweh).  It was written that in the Ark of the Covenant, among other items, was found Aaron’s  "rod that blooms".....which I suggest was originally an "Asherah Pole".  Asharah was often  represented as a tree or a rod/pole.  The  practice of carrying "Asherah poles" was apparently fairly common, until the later Patriarchs  eliminated this custom, along with the Hebrew Goddesses, as the deity became exclusively male and Goddess forms became "the great abomination".  

I take the liberty of copying a comprehensive article about Asherah by Susan Ackerman.


"Gaia Shield" (1995)

https://jwa.org/encyclopedia/article/asherahasherim-bible

Asherah/Asherim

by Susan Ackerman


Asherah was one of the three great goddesses of the Canaanite pantheon. In Canaanite religion her primary role was that of mother goddess. In mythological texts from the Late Bronze Age (c. 1550–1200 b.c.e.) city-state of Ugarit, she is called “the creatress of the gods”; her consort at Ugarit, the god El, is called “creator.” El is also referred to as father and patriarch at Ugarit, as Asherah, likewise, is called mother. Their children form the pantheon of the gods, who are said to number seventy; a Hittite myth similarly mentions the seventy-seven and eighty-eight children of Asherah. On occasion in Ugaritic myth, Asherah performs the maternal role of wet nurse. Ugaritic and other Canaanite materials further associate Asherah with lions (indicating power), serpents (representing immortality or healing), and sacred trees (signifying fertility). Thus Asherah’s children at Ugarit can be called her “pride of lions”; the goddess is called “lady of the serpent” in second-millennium b.c.e. inscriptions from the Sinai; the late-thirteenth-century b.c.e. Lachish ewer dedicated to Asherah is decorated with images of sacred trees.

The Canaanite association of Asherah with sacred trees is also found in Israelite tradition. For example, one of the Canaanite epithets of Asherah, elat, “goddess,” is etymologically identical to the Hebrew word for the terebinth tree (ela)Another word for “terebinth” (alla) and two words for “oak” (elon and allon) are also closely related. Gen 2:4b–3:24 may further suggest the association of Asherah with sacred trees, since the way that Eve, “the mother of all living” (3:20), is described in the Eden story mimics in certain respects the role of the Canaanite mother goddess Asherah. If a correspondence holds, then the trees of life and of knowledge in the Eden narrative may also reflect Asherah imagery.

Most significant, though, in demonstrating Israel’s association of Asherah with sacred trees are biblical materials that describe the asherah (singular) or asherim (plural), the cult object(s) that are associated with the goddess Asherah more than thirty times in the Hebrew Bible. These cult objects are generally described as being in the shape of a pole or stylized tree. Like a pole or tree, they can be said to be planted, stood up, or erected. Conversely, when destroyed, these cult symbols can be described as being cut down, hewn down, or uprooted; they can also be said to be burned, overturned, or broken. Both the Greek and Latin translations of the Bible, moreover, render the words asherah and asherim as “grove” or “wood.”

According to the biblical record, these sacred poles or stylized trees associated with Asherah were erected by the Israelites throughout most of their history, especially during the premonarchic (tribal) period (Judg 6:25–26, 28, 30)) and during the period of the divided monarchy, both in the northern kingdom of Israel (1Kgs 14:15; 16:33; 2 Kgs 13:6; 17:10, 16; 23:15; and parallel references in 2 Chronicles) and in Judah, in the south (1 Kgs 14:23, 15:13; 2 Kgs 18:4; 21:3, 7; 23:6, 14; and parallel references in 2 Chronicles). These sacred poles were situated in various locations. In Judges 6, a sacred pole of Asherah is said to have stood beside the altar of the Canaanite storm god, Baal. The Bible also connects sacred poles with the “high places” (open-air cult sites?) and frequently mentions that they stood “on every high hill and under every green tree” (1 Kgs 14:23; 2 Kgs 17:10; 18:4; 21:3; 23:13–14; 2 Chr 14:3; 17:6; 31:1; 33:3, 19; 34:3; Jer 17:2). Both of these phrases are stereotypically used by the biblical writers to describe sites of idolatrous worship, implying, as does Judges 6, that the worship of Asherah was an apostate behavior in Israel and improper for followers of YHWH.

Yet despite these and other references associating Asherah with apostasy and despite the fact that the Israelites are explicitly forbidden to erect one of Asherah’s sacred poles beside an altar of YHWH, there are multiple indications in biblical tradition that many in ancient Israel did regard Asherah’s icon as an appropriate sacred symbol within the religion of YHWH. For example, one of Asherah’s sacred poles stood in the northern kingdom's capital city of  Samaria. The sacred pole of Samaria, moreover, which was erected during the reign of King Ahab (reigned 873–852 b.c.e.) was allowed to remain standing by the reformer King Jehu in later days even though he was at pains to remove all non-Yahwistic  imagery from the land otherwise.

Archaeological discoveries from the late 1970s and early 1980s have further indicated that, at least in the opinion of some ancient Israelites, YHWH and Asherah were appropriately worshipped as a pair. From the site of Kuntillet ‘Ajrud, in the eastern Sinai, come three ninth- or eighth-century b.c.e. inscriptions that mention YHWH and “his Asherah” (meaning YHWH’s companion [consort?], the goddess Asherah) or “his asherah” (meaning YHWH’s sacred pole that represents the goddess Asherah and that sits in his temple or beside his altar). An eighth-century b.c.e. inscription from Khirbet el-Qom, about twenty-five miles southwest of Jerusalem, contains similar language in 1 Kgs 15:13 and 2 Kgs 18:4, 21:7, and 23:6 (with parallels in 2 Chronicles) indicate that at least during certain points in the ninth, eighth, and seventh centuries b.c.e., Asherah’s sacred pole was perceived as an appropriate icon to erect in Jerusalem, even in YHWH’s temple. 

Whether women, more generally, were more likely to be devotees of Asherah’s cult is unknown. There is some biblical evidence that does see women as particularly attracted to goddess cults (for example, women’s role in the cult of the queen of heaven, according to Jer 7:18 and 44:17–19, 25), and the various female figurines found in domestic contexts at multiple Israelite sites might also suggest this, assuming, as many scholars do, that women played an especially important role in family-centered religious activities. Nevertheless, the presence of Asherah’s cult in the Jerusalem temple and in the cult city of Bethel indicates that worship of the goddess was also appealing to men, given that it was an all-male clergy that officiated at these (and at every) Israelite religious site.

The presence of Asherah’s cult in Israel also raises questions about the nature of the monotheistic confession that is often assumed to be a core principle in Israelite faith. Generally speaking, biblical scholars assume that full-blown, radical, or philosophical monotheism came to Israel fairly late in its history, during the time of the exile in the sixth century b.c.e. Prior to this, we have abundant evidence that other gods and goddesses were worshipped in Israel in addition to (or sometimes instead of) YHWH. Yet even in these earlier materials, we sometimes see evidence of a phenomenon that comes to dominate in the exilic period: the impulse to assimilate the attributes of the many gods and goddesses of older polytheistic systems to the one god, YHWH. Language that speaks of God as mother, for example (as in Deut 32:18; Num 11:12–13; Isa 45:9–10, 49:15; 66:13), probably represents the assimilation of Asherah’s maternal characteristics to YHWH.

Ackerman, Susan. “The Queen Mother and the Cult in Ancient Israel.” 
Journal of Biblical Literature 112 (1993): 385–401.

Sunday, September 18, 2016

INVOCATION for Mabon

Brushwood 2016 by Theresa Guzman


You that create the diversity of the forms:

Open to my words
You that divide it and multiply it


Hear my sounds

Ancient associates and fellow wanderers
You that move the heart in fur and scale


I join with you

You that sing bright and subtle
Making shapes 

that my throat cannot tell

You that harden the horn
And make quick the eye
You that run the fast fox 
and the zigzag fly

You sizeless makers of the mole
And of the whale


aid me and I will aid you




I make a blood pact with you

You that lift the blossom
and the green branch
You who make symmetries more true

Who dance in slower time
Who watch the patterns

You rough coated
Who eat water
Who stretch deep and high
With your green blood
My red blood 
let it be mingled

Aid me and I will aid you



I call upon you
You who are unconfined
Who have no shape
Who are not seen
But only in your action
I will call upon you

You who have no depth
But choose direction
Who bring what is willed
That you blow love

upon the summers of my loved ones
That you blow summers

 upon those loves of my love


Aid me and I will aid you

I make a pact with you

You who are the liquid

Of the waters
And the spark of the flame:
I call upon you

You who make fertile the soft earth
And guard the growth of the growing things
I make peace with you

You who are the blueness of the blue sky
And the wrath of the storm
I take the cup with you

Earth shakers
And with you
the sharp and the hollow hills
I make reverence to you

Round wakefulness 

We call the Earth
I make wide eyes to you

You who are awake

Every created thing

both solid and sleepy
Or airy light,

I weave colors 'round you




You who will come with me

I will consider it Beauty
I will consider it

Beauty, beauty




Published by  WARLOCK MUSIC, LTD.




Friday, November 8, 2013

"Black Madonna" 2013

"Black Madonna" 2013, mixed media


I seem to be fascinated with the Black Madonna, and if I was Catholic, I would undoubtedly join one of the many, very ancient and traditional, Pilgrimages to the Black Madonna that occur throughout Europe, including Poland, Spain, France, and elsewhere.   Many believe that the Black Madonna has its roots in Pre-Christian worship of Isis, portrayed with Her child Horus throughout the Roman world and, of course, Egypt. 


But I believe the origins may go back even farther. 

The Black Madonnas are almost always associated with Sacred Sites, places that contain a holy well, spring, or are associated with a sacred cave.  In other words, places of numinous power within the earth, places that ancient peoples knew to enhance visionary experience, heal, raise energy, enhance fertility, and facilitate communion with the spiritual realms. 

The earliest representation of the human figure, going back as far as 40,000 years and possibly farther...........are the ubiquitous so-called "Venus"  figures, such as the famous "Venus of Willendorf", as well as representations of a stylized vulva found in visual iconography.    In the  2010 film Cave of Forgotten Dreams  ,   Werner Herzog  followed an exclusive expedition into the nearly inaccessible Chauvet cave in France, which houses the  most ancient visual art known from the upper Paleolithic era.  Archeo/mythologist Mirrium Dexter pointed out that the only human image within the site is a female lower torso, or vulva form......the bull image was painted above it a later time.  Although it's never commented on in the movie, or in most discussions of the cave,  Dexter suggested that the  cave represented the womb/tomb where the magic of rebirth occurs, and by the act of honoring and representing  the animal powers which were both allies and sustenance, they were offering them for re-birth within the cave/womb of the Great Mother.

So perhaps my sculpture is a contemporary echo of that image, the "Black Madonna" in Her most primal form, roots and source and life radiating out from Her belly, Her breasts.  This is a Diety that brings us back to our own very primal roots, reverence for the Earth Mother that births us, sustains us, and takes us back to be re-born. 

Another aspect of the Black Madonna to me, which of course I so often refer back to, is the element of "composting" (which isn't unrelated to "rebirth").  Composting is a biological process of renewal, and I believe it's a soul process as well. 
"I do what the poet Gary Snyder calls "composting" — You let everything you do/learn/think/read/feel sink down inside yourself and stay in the dark, and then (years later maybe) something entirely new grows up out of that rich darkness. This takes patience."
Ursula K. Leguin

2005
It's believed by many that the earliest pilgrimages on the "Camino" in Spain were made to the "Black Madonna of Compostella", a very ancient effigy. Compostella comes from the same root word as "compost". Compost is the fertile soil created from rotting organic matter, the "Black Matter". The alchemical soup to which everything living returns, and is continually resurrected by the processes of nature into new life, new form. Matrix/Creatrix. Matter. Mater. Mother.
"From this compost -- life and light will emerge. When the pilgrims came to the Cathedral at Compostella they were being 'composted' in a sense. After emergence from the dark confines of the cathedral and the spirit -- they were ready to flower, they were ready to return home with their spirits lightened."

Thursday, November 12, 2009

Icons - Some Reflections

"Sophia" by Betsy Walker

There is a show at the Dadian Gallery here at Wesley, Icons in the American Style with artists Peter Pearson and Thomas Xenakis (October 28 - December 18). Last week they had an opening, and a lecture about orthodox Christian icon painting. Thomas Xenakis said in his artists statement, "The contemplative time during the painting of the icon is most important for me. I do not allow the product to overwhelm and pressure the process of the making.......the comfort and peace I glean in the writing of an icon transcends definition."

Mr. Xenakis is a contemporary contemplative, whose traditional icons are for him a way of praying. In quoting him, I put my own emphasis on "product" and "process". The word "product" encapsulates, for me, something so intrinsic to our economic and value system that it can quickly overwhelm and overshadow any form of authentic expression. We're bent on production, at ways to keep generating objects and means, at quotas and, under it all, commercial value (do I sound a bit world weary here?)......all of this can "de-soul" a work of its vital essence in no time at all. The vital essence is the process and intention immanent within its creation, and more subtly, the energies that become focused and generated as the "object" manifests in some kind of material form. Does that make sense? 

Peter Pearson, in his artist's statement, says: "
Ultimately, the best icons do not draw attention to themselves, but to God.........So the work of a faithful iconographer is not about anything other than creating an image that will invite and facilitate that movement." In my studies of indigenous masks ( like the sacred mask traditions of Bali), my fascination with Navajo and Pueblo weaving, and traditional Icon arts, I see my own life-long quest for a spiritual meaning, and vitality, I have never found within the modern art world. A longing to discover the "holy" roots of art. I use parentheses for that word because I don't mean it in any denominational sense, but I do mean it in the mystical sense.

"Anima/Animus Icon" (2003)

A sacred mask, in traditional Balinese society, "belongs to the gods", is kept in the Temple except when used for ritual theatre, and were maintained, and protected, as "vessels for the divine". That inspired my 10 year project of making masks for the Goddess, my own devotional offering to the Divine. I think of the Navajo tradition of leaving some small piece of a rug flawed - because only Spider Woman is a perfect weaver. Gold is the most highly valued metal in the world. When an icon is painted on a backdrop of gold, when a halo is created with gold leaf, and especially when an icon is framed in gold, using alchemical metaphor, the icon is saying that this vision is taking place against an ineffable background, infinitely precious and purified of "dross". 

To surround an icon with gold was to sanctify it, creating a window or portal into a sacred vision, a sacred space. A sacred work of art can be a potent receptacle for energy. This was exactly why sacred masks in Bali were kept in the temples, and performers were anointed with holy water before and after using them. It's also why icons are often associated with special places of geomantic potency, such as sacred     wells or caves.


Here's a wonderful commentary by Martin Gray, in his truly epic book, Sacred Earth: Places of Peace and Power. He is writing about the Black Madonna of Guadalupe, Spain, the object of  millenia of pilgrimages.

"It is important to consider the legendary description of the icon as having miraculous healing powers. How are these powers to be explained? The current author theorizes that the healing powers of certain icons, statues and images derive in part from their capacity to somehow function as both receptacles and conduits for some manner of spiritual or healing energy. To grasp the implications of this concept, consider the matter of how physical objects, upon being exposed to various types of energy, may actually build up a charge of that energy and then radiate the energy back into the environment. For example, a stone after being removed from a fire continues to give off radiant heat, and a battery having been charged with electric energy thereafter has the capacity to conduct that energy into an electrical appliance. Perhaps, in some currently unexplained manner, sacred sites and sacred objects are able to gather, store, concentrate and radiate energy in a similar way."
He continues with,
"It seems possible that the so-called 'miraculous' healing icons somehow function as storage batteries for the prayer-transmitted spiritual energy of the millions of pilgrims who visit the sacred shrines. These ‘battery-icons,’ continuously charged over hundreds and often thousands of years, act as conduits and radiant sources of the energies they have stored, and it is these energies that are partially responsible for the 'miracles' of healing so often reported at the sacred sites." *

I love the author's use of the term "storage batteries" and receptacles, which affirms my own sense about the creation of sacred art for many years. As someone who used to make amulets for people with crystals, "charging" the crystals with intent as well as chosing the crystals, stones, colors and symbols to fit the needs of a particular client..............why should an icon, a sacred mask, a revered reliquary, not function as a crystal as well, "crystallizing" and recording psychic, geomantic, and emotional input?**

I am not saying in this entry that "all art" has to be sacred, all art has to have contemplative or spiritual intention. We would have a very dull world, with universal scapegoating and projection, if there was no room for the secular and profane. Heretics would be much in demand. But its no secret that modernism has gone way, way too far in the other direction.

We live in an increasingly de-sacralized world, a disposable world, to our collective sorrow and immediate peril. There are times when I feel overwhelmed with it, overwhelmed with the numbness and indifference, the "sound of silence."


"Tree of Life", Icon, 2005

Martin Gray PO 4111 Sedona, AZ 86340

** I hate the hard edged cynicism people give to the "new age" explorations of the '80's. Yeah, there were certainly excesses, exploitations, and lots of naivete, but is there any public investigation that doesn't have these frailties? I have held many a crystal, and many a "talisman", in the palm of my hand and felt it change my affect and energy system. Radios and computers are basically utilizing crystals - "Silicon Valley"?